Chair: Dr Ian Rothwell
In 2018, the pioneer of computer art Frieder Nake made Homage to Gerhard Richter, an evolving digital display that appropriates scans of Richter’s Strip paintings and gradually destroys them. Nake’s algorithmic approach to painting finds a number of echoes in the work of painters who have, over the past two decade, used the digital to revisit the history of the medium. In so doing, have these artists put an end to painting once and for all, finally answering the seemingly never-ending question of its “death”? Or have they, rather, affirmed the continued significance of painting in our digital times? I will defend the latter position by considering the work of three contemporary painters: Amy Sillman, Laura Owens and Petra Cortright.
Dr Aline Guillermet received her PhD in Art History and Theory from the University of Essex (2015) and is currently a Junior Research and Teaching Fellow in Art History and Aesthetics at King’s College, University of Cambridge. Her research interests include postwar German art, the impact of technology on contemporary painting, and digital art. Her work has been published in Art History, Representations, Media Theory, and Critique d’Art. Aline was Helena Rubinstein Fellow in Critical Studies at the Whitney Museum Independent Study Program in New York (2012-13), and co-convenor of the Digital Art Research Network at the Centre for Research in the Arts, Social Sciences and Humanities (CRASSH), University of Cambridge (2017-19). She recently completed a monograph entitled Gerhard Richter and the Technological Condition of Painting, which considers Richter’s subversion of canonical painterly genres from the perspective of science and technology.